MAY 7-9 classical series SEGERSTROM CENTER FOR THE ARTS RENÉE AND HENRY SEGERSTROM CONCERT HALL presents 2014-15 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES Performance begins at 8 p.m. Preview talk with Alan Chapman begins at 7 p.m. JOHN NELSON • CONDUCTOR | BARRY DOUGLAS • PIANO Carl Maria von Weber (1786-1826) Overture to Oberon, J. 306 Ludwig van Beethoven (1770-1827) Concerto No. 5 in E-flat Major for Piano and Orchestra, Op. 73, Emperor Allegro Adagio un poco mosso Rondo: Allegro Barry Douglas INTERMISSION Robert Schumann (1810-1856) Symphony No. 2 in C Major, Op. 61 Sostenuto assai - Allegro ma non troppo Scherzo: Allegro vivace Adagio expressivo Allegro molto vivace The Friday, May 8, concert is generously sponsored by the Pacific Symphony League. The Saturday, May 9, concert is generously sponsored by Sakura and William Wang. PACIFIC SYMPHONY PROUDLY RECOGNIZES ITS OFFICIAL PARTNERS Official Vehicle Official Hotel Official Television Station Official Classical Radio Station The Saturday, May 9, performance is being recorded for broadcast on Sunday, July 19, at 7 p.m. on Classical KUSC. Pacific Symphony • 13 NOTES by michael clive advocate for a German national operatic style, working feverishly for the cause both as a composer and as the director of German opera in Dresden. (A rival company produced Italian operas.) Weber’s continued representation in the opera house and concert hall rests upon three important operas that he composed during the years before his premature death at age 39: Der Freischutz, Euryanthe, and Oberon. Dating from 1821, the first of these—Der Freischutz—is considered the first great Romantic German opera. The third, Oberon, was commissioned by Covent Garden for production in 1826. Against doctor’s orders, Weber travelled to London to help bring it to the stage, even learning English for this purpose. The opera’s premiere was a tremendous success, but Weber paid a terrible price: Shortly before the scheduled date of his return trip to Germany, he was found dead in the lavish guest quarters provided to him by his host, Sir George Smart. Concerto No. 5 in E-flat Major for Piano and Orchestra, “Emperor” Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, CARL MARIA VON WEBER (1786-1826) strings, solo piano Performance time: 38 minutes Overture to Oberon Background Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 ho put the “bomp” in the “bomp bah bomp bah bomp?” trombones, bass trombone, timpani, strings Who put the Emperor Napoleon in Beethoven’s “Emperor” Performance time: 9 minutes W Concerto? Background Without question, Beethoven felt passionately about the orn in 1786 in Eutin, Germany, the opera composer Carl Maria philosophical ideals of the Enlightenment, and most especially von Weber was—with his compatriot Giacomo Meyerbeer—a about human freedom. For better or worse, we associate much of leader in the development of the aptly termed “grand opera” his music with Napoleon, whose challenge to the established order B in Europe inspired hope—but ultimately disillusionment—in the form. These epically scaled, spectacular music-dramas were the most elegantly grandiose entertainments of their day. composer. But whether or not we can justify a connection between them, Beethoven’s “Emperor” Concerto will forever be linked to Weber was a musical child whose father, with a backward glance to Napoleon. As author Andrew Schartmann notes in his Myth and Leopold Mozart’s successful exploitation of the young Amadeus, sent Misinterpretation in Beethoven’s Emperor Concerto, it is clear that his son to study with instructors including Michael Haydn. It was Napoleon was the emperor listeners had in mind when the Fifth under Haydn’s tutelage that Weber published his first composition, became associated with that highly charged word. Whether this a suite of six fugues, at age 12. But for the most part, Weber was a nickname is appropriate is another matter. “There is no question self-invented man who led a short, rollicking life. The evidence of that the popular title originated from extra-musical associations not his intellectual brilliance is impressive: He wrote music journalism, sanctioned by the composer,” says Schartmann, who calls the term did early research on European folk music, and learned the highly misleading. “It can only be hoped that performer[s] do not base their technical skill of lithographic printing so he could engrave his own interpretations on these unfounded anecdotes,” he says. works. Perhaps. But the anecdotes are inescapable, and there are good Through his early teenage years, Weber was precociously writing reasons why they seem tied to the notion of the common man versus operas that seemed stage-worthy until they were produced. Despite an imperial ideal. Beethoven was among the many thinkers who their failure, these operas continued to hone his craft, and widening first believed that as liberator of Europe from monarchies, Napoleon professional connections resulted in his appointment as music was a champion of human freedom who betrayed this noble cause director at Breslau while he was still in his late teens. Out of his depth by arrogating the power and privileges of monarchy to himself. The but still learning, he resigned his Breslau post in favor of a position composer famously intended to dedicate his “Eroica” Symphony— as music director to Duke Eugen of Wurttemberg. The turning point which, like the “Emperor” Concerto, bears a key of E flat—to came in 1807, when Weber—by now only 21—earned prominence in Napoleon, but furiously “undedicated” it in manuscript. an influential circle of leaders in the emerging Romantic movement in the arts and music. Here he met Meyerbeer and was recognized for There are also good reasons why the concerto form is especially well his excellence as a pianist and guitarist. suited to Beethoven’s philosophical concerns. Its most basic formal constraint—the one (soloist) versus the many (orchestra)—provides Though Weber’s passionate nature never cooled, from this time an ideal framework for exploring the individual’s relationship with onward it was tempered by a sense of realism and professional society. As with his symphonies, Beethoven’s piano concertos pushed discipline. He was happily married and was the most passionate the scope and heft of the form as he worked his way through musical 14 • Pacific Symphony NOTES to enjoy one of Beethoven’s greatest creations any way we like— clearly a case of artistic freedom in the service of human freedom. What to Listen For For all the philosophical meanings that many listeners hear in Beethoven’s Piano Concerto No. 5, its appeal is mainly a matter of sheer, abstract beauty, expressed through melodies that combine simplicity and grandeur. Their development seems profound yet personal, partly because Beethoven’s development sections often delineate only the accompanying line in the orchestra or the piano, leaving us to imagine the melody on our own. This draws us into the composition as few concertos do—one reason why the “Emperor” has achieved such rare popularity with its adoring public. The “Emperor” Concerto bears the hallmarks that have grown familiar through the canon of Beethoven piano concertos: the fast-slow-fast arrangement of movements, the adherence to sonata form, the final rondo with its repeated melodic statements by the soloist. But its consistently noble character is unique. Beethoven’s rededication of the “Eroica” Symphony (he ripped Napoleon’s name out of the autograph score) shows what he thought of emperors, but the “Emperor” Concerto seems aptly named for its elevated expression, which never LUDWIG VAN BEETHOVEN (1770-1827) flags. ideas. Beethoven greatly admired Mozart’s piano concertos, with Rather than climbing to altitude, the concerto’s opening seems their constant sense of spontaneity and delight, but did not pursue already to have arrived at a great height, announcing itself through these qualities in his own concertos. Instead, they get progressively repeated, solemn chords with the gilded quality of a royal fanfare. weightier, until in the fifth we hear some of the noblest music ever After an introduction, the splendid opening theme has a sense of written. For all its beauty, “delight” is not the prevailing effect; as we firmness, strongly rooted in the concerto’s tonic key of E flat. It is listen, we have the impression that all of human dignity is at stake. balanced by a second theme that is no less noble but far softer, almost whispering its presence until the two themes reconcile. After The concerto’s number, though known to all, is rarely mentioned. this high-flying but worldly opening, the second-movement adagio It is simply “the Emperor Concerto,” a nickname that was probably seems to ascend still further, perhaps heavenward, stopping time supplied by Beethoven’s friend and publisher Johann Cramer. No with a sweet but melancholy meditation. After the end of a series other piano concerto is more beloved, and none more powerfully of trills, listen for the second phrase of the poetic main theme: in combines nobility of expression with sublime beauty. Beethoven his book The Rest Is Noise, the music critic Alex Ross identifies this completed it in 1811, about one year before his Symphony No. 7. as a source for Leonard Bernstein’s song “Somewhere” from the musical West Side Story. This kind of borrowing seems especially For lovers of the pianist’s art, the “Emperor” Concerto is perhaps the appropriate when it draws from Beethoven, who often quoted cornerstone of fandom. Including it in one’s personal repertory is his own arrangements of common songs and folk melodies in his almost mandatory for most top-flight pianists, regardless of specialty; compositions.